List of Illustrations
Acknowledgments
Introduction: “Almost the Same, but Not Quite” / “Almost the Same,
but Not White”; or, The Author as Cannibal
1. Aimé Césaire’s Une tempête, Cannibalizing Shakespeare’s The
Tempest; or, Who’s Laughing Now?
2. Boubacar Boris Diop’s Le temps de Tamango, a Postmodern
Cannibalization; or, Penetrating “Fortress Europe”
3. Assia Djebar’s L’amour, la fantasia, a Historiographic
Cannibalization; or, Dismantling/Decolonizing History
4. Maryse Condé’s La migration des cœurs, Cannibalizing Emily
Brontë’s Wuthering Heights; or, a Sublime Phagocytosis
Conclusion: The Future of Literary Cannibalism; or, Addressing the
Lingering Questions
Appendix: Interviews with Maryse Condé
Notes
References
Index
Felisa Vergara Reynolds is an assistant professor of French at the University of Illinois, Urbana-Champaign.
“Felisa Vergara Reynolds sheds an exciting light on Francophone
literature. Her work brilliantly displays the common movement
originated by authors who subvert the colonial lens by using its
codes and transform them into the tools of its critique.”—Rokhaya
Diallo, French journalist, writer, filmmaker, and activist for
racial, gender, and religious equality
“Felisa Vergara Reynolds’s impressive postcolonial reading of the
author as cannibal strategically locates literary rewriting as a
political form of protest, resistance, and reappropriation. . . .
From rewriting and reclaiming the historical record to the
inscription of subjectivity through the privileging of formerly
marginalized perspectives to reversing the power dynamic intrinsic
to the Eurocentric gaze, Reynolds peels back the veil of colonial
‘camouflage’—with its histories of domination, exclusion, and
misrepresentation—to denounce colonial authoritarianism and reveal
a set of counternarratives that imbue the formerly colonized with
agency and the right to self-representation.”—H. Adlai Murdoch,
author of Creolizing the Metropole: Migrant Caribbean Identities in
Literature and Film
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